Modern jangarchi of Kalmykia: Strategies and scenarios of epic storytelling

This article examines the storytelling practices of contemporary Kalmyk jangarchi and their adaptation to the cultural, social, and political conditions of the 21st century. A 2023 field study reveals that the dichotomy of «authentic/inauthentic», prevalent in epic studies, is becoming blurred. The study discusses Alan Dundes’ devolutionary premise in folklore theory. which shapes the discourse of both storytellers and epic scholars. The dominant narrative suggests that «tradition is being forgotten», «folklore is disappearing» and «modern epic singers are inauthentic». However, the forms of epic performance in the 21st century and their abundance in the Republic of Kalmykia offer rich material for studying the «laboratory» where modern storytelling art is created – from the acquisition of the gift and training of the narrator to the development of the narrator as a professional. Modern epic singing cannot be described as merely performative; jangarchi perform not only for external audiences but also for themselves, family, and guests. Their mastery lies not in rote memorization but in the internalization and variation of texts. The legitimacy of their epic gift is articulated through two narrative frameworks: the «calling of the singer» (gift received through mythological initiation) and the «training of the storyteller» (guided by experienced jangarchi or through self-study using books and recordings), consistent with 19th-century traditions. The jangarchi’s training combines traditional approaches, such as familial inheritance and imitation of the masters, with modern methods, including the use of audio recordings and professional folklore research. Particular attention is given to state support of storytelling in the post-Soviet era: jangarchi actively participate in cultural policies, festivals, and competitions, receiving honorary titles and awards. Thus, modern storytelling in Kalmykia has become a key element in presenting the region and representing Kalmyk identity on regional, national, and global stages. Furthermore, the authors highlight the link between traditional epic genres and the processes of discourse traditionalization, enabling jangarchi to play a pivotal role in shaping national identity. The article summarizes the transformations in epic singers’ practices and emphasizes their significance as a cultural and social phenomenon.